THE CURTIS INSTITUTE
OF MUSIC
1946-1947
THE
CURTIS INSTITUTE OF MUSIC
^ ^'^'■*^: — ^V*'
CATALOGUE
I946-1947
RITTENHOUSE SQUARE
PHILADELPHIA 3 • PENNSYLVANIA
COPYRIGHT 1946, BY
THE CURTIS INSTITUTE OF MUSIC
PURPOSE
TO HAND DOWN THROUGH CONTEMPORARY MASTERS
THE GREAT TRADITIONS OF THE PAST
TO TEACH STUDENTS TO BUILD ON THIS HERITAGE
FOR THE FUTURE
EFREM ZIMBALIST, Director
THE CURTIS INSTITUTE OF MUSIC
Efrem Zimbalist, Director
THE CURTIS INSTITUTE OF MUSIC was
founded in 1924 by Mary Louise Curtis Bok.
All nationalities, races, and creeds are welcomed.
The School is approved by the United States
Government as an institution of learning for the
training of non-quota foreign students, in
accordance with the Immigration Act of 1924.
The School is operated under a Charter of the
Commonwealth of Pennsylvania, and is fully
accredited for the conferring of Degrees.
Students are accepted, under conditions herein
set forth, exclusively on the Scholarship basis.
CORPORATION OFFICERS AND DIRECTORS
THE CURTIS INSTITUTE OF MUSIC
Officers
Mary Curtis Zimbalist President
Curtis Bok Vice-President
Cary W. Bok Secretary
Jay H. Mattis Assistant Secretary and Treasurer
Directors
Mary Curtis Zimbalist Edith Evans Braun
Cary W. Bok George P. Orr
Curtis Bok Jay H. Mattis
Efrem Zimbalist
THE MARY LOUISE CURTIS BOK FOUNDATION
(^Supporting The Curtis Institute of Music)
Officers
Mary Curtis Zimbalist President
Curtis Bok Vice-President
Cary W. Bok Secretary
Jay H. Mattis Assistant Secretary and Treasurer
Directors
Mary Curtis Zimbalist Edith Evans Braun
Cary W. Bok George P. Orr
Curtis Bok Jay H. Mattis
Efrem Zimbalist
THE SCHOOL S ADMINISTRATIVE AND EXECUTIVE STAFF
Efrem Zimbalist Director
Jay H. Mattis Business Manager
Jane Fairfax Hill Registrar
Helen Hoopes Secretary of Admissions
Phyllis Rugg Druian Librarian
Ethel Kingsley Nice Secretary to the Director
Maud Louise Lytle Secretary to the Business Manager
•6-
FACULTY
Headings in CAPITALS designate major courses; headings in italics, supplementary courses.
VOICE
Elisabeth Schumann Marion Szekely Freschl
Eufemia Giannini Gregory
Vocal Repertoire, Diction
Leo Rosenek
Elizabeth Westmoreland
Eufemia Giannini Gregory
Opera Department
John Wolmut Leo Rosenek
Stage Director Musical Director
PIANO
Rudolf Serkin Isabelle Vengerova
Mieczyslaw Horszowski
Piano
Vladimir SokolofF Eleanor SokolofF
Freda Pastor
ORGAN
Alexander McCurdy
HARP Harp Ensemble
Carlos Salzedo Carlos Salzedo
FACULTY — Continued
Efrem Zimbalist
Ivan Galamian
VIOLIN
VIOLA
William Primrose
Lea Luboshutz
Veda Reynolds
VIOLONCELLO
Gregor Piatigorsky
Chamber Music
William Primrose
String Ensemble
Marcel Tabuteau
FLUTE
William Kincaid
OBOE
Marcel Tabuteau
CLARINET
Bernard Portnoy
BASSOON
Sol Schoenbach
HORN
Mason Jones
DOUBLE BASS
Carl Torello
Woodwind Eitsemble
Marcel Tabuteau
ACCOMPANISTS
Vladimir SokolofF Elizabeth Westmoreland
• 8-
FACULTY — Continued
COMPOSITION
Gian Carlo Menotti
Orchestration Elements of Music
Gian Carlo Menotti Edith Evans Braun
Counterpoint, Harmony
Constant Vauclain
Solfige Dramatic Forms
Anne-Marie SofFray Gian Carlo Menotti
Languages
Mary Q. Shumway, A. B., A. M., Ph. D. -.German
Louise Andre Tabuteau, B. es L., L. es L.: French
Domenico Vittorini, A. M., D. in L.: Italian
ACADEMIC TUTOR
Mary Boyde Wesner, A. B.
.9.
MINIMUM COURSE REQUIREMENTS
(Entrance Requirements, pages 15-19)
All students are on probation during their entire period of enrolment,
and may be dropped at any time for failure to progress according
to the standards of the Faculty.
For the Diploma
The Diploma is given at the completion of three or more years
of study in any major course. The candidate must have main-
tained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
For the Degree Bachelor of Music
Prerequisite : Completion of 16 units of the required high school
subjects as outlined by the Department of Public Instruction,
Harrisburg, Pennsylvania.
The degree is given at the completion of not less than four years
of study in any major course, with a total of 120 Semester Hours,
of which 60 are to be in Applied Music including the major,
30 in Theory, and 30 in academic work. The candidate must have
maintained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
Credit will be given for academic subjects of college grade taken,
before acceptance or during the period of enrolment, at an
accredited college or university.
For the Degree Master of Music
(Given only in Composition)
Prerequisite: Completion of 120 Semester Hours in the required
courses admitting to the Bachelor of Music degree in Composi-
tion, according to the standards of The Curtis Institute of Music.
The degree is given at the completion of not less than two years
of graduate study in Composition, and such additional work as
may be prescribed, with a total of 30 Semester Hours.
• 10-
MINIMUM COURSE REQUIREMENTS, ConttiJUed
The Thesis may consist of an extended original composition for
full orchestra or for chorus and orchestra.
Supplementary Theoretical Courses
(Major courses in Capitals)
All courses in Theory may be anticipated by examination.
Voice .
For the Diploma
ISolfege: i year
Harmony: i year
Elements of Music: i year
Piano ]
Organ 1 [ Solfege: i year
Harp I J Harmony and Counterpoint :
Violin [ I 2. years
Viola [ Elements of Music: i year
Violoncello J
Double Bass
Flute
Oboe
Clarinet
Bassoon
Horn J
f Solfege: i year
\ Harmony: i year
Composition .
See Note i
For the Degree Bachelor of Music
Voice
Piano
Organ
Harp
Violin ,
Viola
Violoncello .
Double Bass .
Flute ,
Oboe
Clarinet . . . -
Bassoon . . . . ,
Horn
Composition.
f Solfege: T. years
1 Harmony and Counterpoint:
2. years
Elements of Music: 1 years
See Note i
11
^ffl
MINIMUM COURSE REQUIREMENTS, Continued
Supplementary Applied Subjects
(Major courses in Capitals)
The following are required both in courses admitting to the
Diploma and courses admitting to the Bachelor of Music degree,
and are taken, except as indicated, throughout the entire period.
Supplementary Piano may be anticipated by examination.
(Piano : i years
Diction
Vocal Repertoire
Languages
Piano Chamber Music
Organ Piano
„ /Piano:! years
"*" \ Harp Ensemble
VlO"N 1 .pi^„o. ^ y„„
y'°^* U Chamber Music
Dr«B^::::::::::;;;:;:;:;;::::;::::::;:W-s Ensemble
Flutb . . . .
Obob . . . .
Clarinet
Bassoon. .
Horn . . . .
{ Piano: i years
\ Woodwind Ensemble
Composition Piano: i years
Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of
Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the
German Schools.
Note 2. The requirements in Composition are Elements of Music, Orchestration, and
Dramatic Forms, and the courses are not considered supplementary but component parts
of the major course,
• 12.
MINIMUM COURSE REQUIREMENTS, Continued
NoTB 3. The course in Dramatic Forms includes a brief history of dramatic music
(opera, oratorio); methods of musical dramatic expression (librettos, staging, recit-
atives, etc.); the analysis of representative operatic works; experiments in the setting of
dramatic texts.
Note 4. Public performance, and performance in Curtis Hall, are credited toward grad-
uation. Students majoring in Composition receive credit for public or Curtis Hall per-
formance, whether by themselves or by others, of their compositions. Students are
permitted to accept professional engagements, with the approval of the Director.
NoTB. 5. Attendance is required at all recitals given in Curtis Hall.
13
GENERAL INFORMATION
Students are accepted on the Scholarship basis exclusively, and
pay no tuition fees.
Living expenses are the responsibility of the student.
The School has no dormitories. Incoming students who request
it are assisted in finding living accommodations.
Designated studios are used for practice. The auditorium,
Curtis Hall, where Faculty, student, and guest recitals, School
gatherings, and Commencement are held, is used also for re-
hearsals and organ practice. In general, lessons, classes, and
rehearsals are scheduled for afternoons; mornings are devoted
to practice. There is no charge for the reservation of practice
studios.
The library of 30,000 volumes includes among its more impor-
tant sets the Bach Gesellschaft publications, the collected works
of Beethoven, Schubert, and Schumann as published by Breit-
kopf, and the complete works of Brahms, Chopin, Handel,
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many
volumes of the Denkmaler deutscher Tonkunst, including the
Tonkunst in Bayern, a number of volumes of the Denkmaler
der Tonkunst in Oesterreich, and the works of Monteverdi.
There are a number of rare manuscripts and first editions. The
famous Burrell collection of Wagner manuscripts, documents,
letters, and other biographical material has recently been pre-
sented to the Institute by Mrs. Mary Curtis Zimbalist. The
privilege of borrowing music and books is granted to all
registered students. Students have the use of textbooks with
out charge.
Instruments include string instruments of the Italian, French and
English Schools, Steinway pianos, Lyon and Healy harps, orches-
tral instruments. The organ in Curtis Hall is a five-manual
with 98 ranks of pipes, built by Aeolian-Skinner.
• 14-
ENTRANCE REQUIREMENTS
Application for Audition or Examination
Students are accepted only after an audition or the examination
of original compositions submitted. The qualifications for audi-
tion or examination are given on the following pages.
The applicant is required to fill out an application form and to
give in detail all requested information. The application form
must be accompanied by an official birth certificate (photostat
is acceptable), physician's certificate of health, and a recent
small photograph of the applicant. An applicant enrolled as a
student at another school of music or studying with a private
teacher will be considered for an audition or examination only
if the application form is accompanied by written permission
from the school oe covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
Credit will be given for academic subjects of college grade taken,
before acceptance or during the period of enrolment, at an
accredited college or university.
For the Degree Master of Music
(Given only in Composition)
Prerequisite: Completion of 120 Semester Hours in the required
courses admitting to the Bachelor of Music degree in Composi-
tion, according to the standards of The Curtis Institute of Music.
The degree is given at the completion of not less than two years
of graduate study in Composition, and such additional work as
may be prescribed, with a total of 30 Semester Hours.
•10-
MINIMUM COURSE REQUIREMENTS, Continued
The Thesis may consist of an extended original composition for
full orchestra or for chorus and orchestra.
Supplementary Theoretical Courses
(Major courses in Capitals)
All courses in Theory may be anticipated by examination.
For the Diploma
fSolfege: i year
Harmony: i year
Elements of Music: i year
Piano
Oroan
Harp
Violin
Viola
Violoncello .
Double Bass .
Flute
Oboe
Clarinet ...
Bassoon . . . . ,
Horn
Trumpet. . . .
Trombone. . .
Tuba
Percussion . .
Composition .
fSolfege: i year
Harmony and Counterpoint:
1 years
[ Elements of Music: i year
^ r Solfege: i year
\ Harmony: i year
See Note i
For the Degree Bachelor of Music
Voice
Piano
Organ
Harp
Violin
Viola
Violoncello .
Double Bass .
Flute
Oboe
Clarinet ...
Bassoon
Horn
Trumpet. . . .
Trombone. . .
Tuba
Percussion. .
Composition.
iSolfJge: X years
Harmony and Counterpoint:
1 years
Elements of Music: i years
See Note z
11
MINIMUM COURSE REQUIREMENTS, Continued
Supplementary Applied Subjects
(Maior courses ia Capitals)
The following are required both in courses admitting to the
Diploma and courses admitting to the Bachelor of Music degree,
and are taken, except as indicated, throughout the entire period.
Supplementary Piano may be anticipated by examination.
Piano: 2 years
Diction
Voice I Vocal Repertoire
I Languages
Opera Class
Eurhythmies
Piano Chamber Music
Organ Piano
I Piano: 2 years
Harp Ensemble
Orchestra
Violin 1 [Piano: 2 years
Viola I I Chamber Music
Violoncello j 1 String Ensemble
Double Bass J [Orchestra
Flute. . . ,
Oboe. . . .
Clarinet .
Bassoon. .
Horn. . . .
I Piano: 2 years
Woodwind Ensemble
Orchestra
Trumpet ]
Trombone I fPiano: 2 years
Tuba [ \Orchestra
Percussion J
Composition Piano: 2 years
Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory of
Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the
German Schools.
12-
MINIMUM COURSE REQUIREMENTS, Continued
NoTB 2. The requirements in Composition are Elements of Music, Orchestration, and
Dramatic Forms, and the courses are not considered supplementary but component parts
of the major course.
Note 3. The course in Dramatic Forms includes a brief history of dramatic music
(opera, oratorio); methods of musical dramatic expression (librettos, staging, recit-
atives, etc.); the analysis of representative operatic works; experiments in the setting of
dramatic texts.
NoTB 4. Public performance, and performance in Curtis Hall, are credited toward grad-
uation. Students majoring in Composition receive credit for public or Curtis Hall per-
formance, whether by themselves or by others, of their compositions. Students are
permitted to accept professional engagements, with the approval of the Director.
Note 5. Attendance is required at all recitals given in Curtis Hall.
13
GENERAL INFORMATION
Students are accepted on the Scholarship basis exclusively, and
pay no tuition fees.
Living expenses are the responsibility of the student.
The School has no dormitories. Incoming students v^^ho request
it are assisted in finding living accommodations.
Designated studios are used for practice. The auditorium,
Curtis Hall, where Faculty, student, and guest recitals. School
gatherings, and Commencement are held, is used also for re-
hearsals and organ practice. In general, lessons, classes, and
rehearsals are scheduled for afternoons; mornings are devoted
to practice. There is no charge for the reservation of practice
studios.
The library of 30,000 volumes includes among its more impor-
tant sets the Bach Gesellschaft publications, the collected works
of Beethoven, Schubert, and Schumann as published by Breit-
kopf, and the complete works of Brahms, Chopin, Handel,
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many
volumes of the Denkmaler deutscher Tonkunst, including the
Tonkunst in Bayern, a number of volumes of the Denkmaler
der Tonkunst in Oesterreich, and the works of Monteverdi.
There are a number of rare manuscripts and first editions. The
famous Burrell collection of Wagner manuscripts, documents,
letters, and other biographical material has recently been pre-
sented to the Institute by Mrs. Mary Curtis Zimbalist. The
privilege of borrowing music and books is granted to all
registered students. Students have the use of textbooks with-
out charge.
Instruments include string instruments of the Italian, French and
English Schools, Steinway pianos, Lyon and Healy harps, orches-
tral instruments. The organ in Curtis Hall is a five-manual
with 98 ranks of pipes, built by Aeolian-Skinner.
14-
ENTRANCE REQUIREMENTS
Application for Audition or Examination
Students are accepted only after an audition or the examination
of original compositions submitted. The qualifications for audi-
tion or examination are given on the following pages.
The applicant is required to fill out an application form and to
give in detail all requested information. The application form
must be accompanied by an official birth certificate (photostat
is acceptable), physician's certificate of health, and a recent
small photograph of the applicant. An applicant enrolled as a
student at another school of music or studying with a private
teacher will be considered for an audition or examination only
if the application form is accompanied by written permission
from the school or teacher.
Requests for the return by mail of personal property that has
been submitted with the application form should be accom-
panied by the necessary postage.
Auditions are scheduled at the convenience of the Faculty and
requests for changes in appointments cannot be considered.
School Year 1948-1949
Persons wishing consideration for auditions and examinations
to be held in April-May 1948 should request, complete, and
return the application form with required supporting documents
not later than February i, 1948.
All communications should be addressed to
The Secretary of Admissions
The Curtis Institute of Music
Rittenhouse Square
Philadelphia (3), Pennsylvania
•15-
ENTRANCE REQUIREMENTS
Qualifications for Audition or Examination
The qualifications for receiving an audition or examination are
presented here in a general form, allowing the applicant latitude
in the selection of works to be presented. While the choice of
composition is important, the manner of performance carries far
greater weight.
The final decision as to the suitability of an applicant for ac-
ceptance rests upon the evidence of talent shown rather than
upon the degree of advancement already attained. Admission is
limited to those whose inherent musical gift shows promise of
development to a point of professional quality.
Applicants in any subject may be asked to show the degree of
their attainments in sight-reading. A supplementary knowledge
of the piano, or other medium, and of the theory of music, is
desirable.
The auditors are not obliged to hear all that an applicant may
have in readiness nor to comply with requests for criticism of
applicants not accepted.
Accompanists are provided.
VOICE
Applicants shall submit from memory four selections showing
the character, quality, and personality of voice and singer, of
which one at least should be in English. They should be chosen
from the standard operatic and oratorio recitatives and arias;
German Lieder; Italian songs of the Seventeenth and Eighteenth
Centuries; French songs (either of the 'Bergerette' type or of
the Nineteenth and Twentieth Centuries); English songs of any
period which have artistic merit.
.16.
ENTRANCE REQUIREMENTS! Qualifications for Audition or Examination, Continued
Clear diction and accurate pronunciation in one foreign language
will be considered of higher value than a casual and inaccurate
use of several.
Age of applicants: girl applicants should be between seventeen
and twenty-two, men between nineteen and twenty-five.
PIANO
Applicants shall play from memory: 1) a prelude and fugue from
The Well-Tempered Clavichord or a three-part invention of
Bach; 2) a Beethoven sonata, complete; 3) two selections — one
slow and one brilliant — from the works of Chopin.
Age of applicants: 2Lpp\ica.nts should be under twenty-one.
ORGAN
Applicants shall play from memory: 1) a fugue or prelude and
fugue or a principal movement from a sonata or symphony;
2) a trio; 3) a scherzo; 4) a slow movement.
Applicants shall also play the following at the piano: 1) a
study; 2) a nocturne or other slow movement.
Age of applicants: applicants should be under twenty-one.
HARP
Applicants should possess a thorough knowledge of the funda-
mental principles of contemporary harp playing. A knowledge
of piano playing is desirable. Applicants shall submit from
memory two transcriptions from the classics and two works
from contemporary literature.
Age of applicants: applicants should be under twenty-one.
•17-
ENTRANCE REQUIREMENTS: Qualifications for AuJuion or Examination, Continued
VIOLIN
Applicants under fourteen years of age shall play: 1) scales in
three octaves and double stops; 2) Kreutzer or Rode etudes;
3) a concerto of Mozart, Spohr, or Mendelssohn.
Applicants over fourteen years of age shall play: 1) all scales in
fluent tempo and double stops; 2) a Bach sonata for violin alone;
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr,
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps,
Wieniawski, or Goldmark.
Age of applicants: applicants should be under twenty-one.
VIOLA
Applicants shall play: 1) all major and minor scales and arpeg-
gios; 2) the Kreutzer violin etudes; 3) the forty-one caprices of
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz,
or Mozart.
Age of applicants: applicants should be under twenty-one.
VIOLONCELLO
Applicants shall play: 1) all major and minor scales and arpeg-
gios; 2) an etude or a caprice by Franchomme or Piatti or
Duport; 3) a fast and a slow movement from a Bach suite; 4) a
concerto from the standard repertoire or a sonata by Beethoven
or Brahms or a modern composer.
Age of applicants: applicants should be under twenty-three.
• 18-
ENTRANCE REQUIREMENTS: Qualifications for Audition or Examination, Continued
DOUBLE BASS
Applicants shall possess a good ear, sense of rhythm, and the
ability to read at sight. They shall play: 1) all the scales,
intervals, and arpeggios; 2) one movement of a concerto or a
sonata.
Age oj applicants : applicants should be under twenty-one.
FLUTE, OBOE, CLARINET, BASSOON, HORN
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read at
sight.
Age of applicants : applicants should be under twenty-one.
TRUMPET, TROMBONE, TUBA
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read
at sight.
Age of applicants: applicants should be under twenty-one.
PERCUSSION, TYMPANI
Applicants shall possess a good ear, sense of rhythm, the ability
to read at sight, and show aptitude for the instruments.
Age of applicants: applicants should be under twenty-one.
COMPOSITION
Applicants shall submit several original compositions. Or-
chestral compositions may be submitted, but are not required.
Applicants should send their manuscripts by registered mail,
presenting themselves in person only when so requested. The
Institute cannot accept responsibility for the return of manu-
scripts unless the necessary postage is enclosed.
. 19.
CALENDAR
1947-1948
September 22 (Monday) \ Registration of new
September 23 (Tuesday) / students
September 24 (Wednesday) 1 Registration of old
September 25 (Thursday) J students
September 29 (Monday) : First Term opens
November 27 (Thursday): Thanksgiving Holiday
December 20 (Saturday) through
- , Christmas Vacation
January 4 (Sunday)
January 5 (Monday): School re-opens
April: Auditions and examinations begin for enrolment
of new students for the School Year 1948-1949
March 16 (Friday) through . 1/ ■
March 31 (Wednesday)
April 30 (Friday): Last day of instruction
Commencement : Date to be announced
Recitals as scheduled
• 20 •
THE
CURTIS
INSTITUTE
OF
MUSIC
PHILADELPHIA
1948 • 194-9
THE
CURTIS INSTITUTE OF MUSIC
CATALOGUE
TWENTY-FIFTH ANNIVERSARY SEASON
1948-1949
RITTENHOUSE SQUARE
PHILADELPHIA 3 • PENNSYLVANIA
COPYRIGHT 1948, BY
THE CURTIS INSTITUTE OF MUSIC
MARY CURTIS ZIMBALIST
Founder and President
THE CURTIS INSTITUTE OF MUSIC
Efrem Zimbalist, Director
THE CURTIS INSTITUTE OF MUSIC was founded in 1924
by Mary Louise Curtis Bok
To hand down through contemporary masters
the great traditions of the past
To teach students to build on this heritage
for the future
The School is operated under a Charter granted by the Common-
wealth of Pennsylvania and is included in the list of "Colleges and
Universities in Pennsylvania approved by the State Council of
Education for the Granting of Degrees".
The United States Government has duly approved The Curtis
Institute of Music as an institution of learning for immigrant
students, in accordance with the Immigration Act of 1924.
Students are accepted under the conditions herein set forth, on the
scholarship basis exclusively, and pay no tuition fees.
THE CURTIS INSTITUTE OF MUSIC
OFFICERS
President
Mary Curtis Zimbalist
Vice-President
Curtis Bok
Secretary
Cary W. Bok
Trtasurer and Assistant Secretary
Jay H. Mattis
BOARD OF DIRECTORS
Mary Curtis Zimbalist
Curtis Bok
Cary W. Bok
Efrem Zimbalist
Helene Boericke Bok
Edith Evans Braun
George P. Orr
Jay H. Mattis
EXECUTIVE AND ADMINISTRATIVE STAFF
Efrem Zimbalist Director
Jay H. Mattis Business Manager
Jane Fairfax Hill Registrar
Helen Hoopes Secretary of Admissions
Elizabeth R, Hartman Librarian
Ethel Kingsley Nice Secretary to the Director
Maud Louise Lytle Secretary to the Business Manager
6 •
FACULTY
Headings in CAPITALS designate major courses ; headings in italics, supplementary courses.
VOICE
Marion Szekely Freschl
Eufemia Giannini Gregory
Rudolf Serkin
Vocal Repertoire
Leo Rosenek
Elizabeth Westmoreland
Martin Rich
Opera Department
John Wolmut, Director
PIANO
Mieczyslaw Horszowski
Isabelle Vengerova
Vladimir SokolofF
Eleanor SokolofF
Piano
Martha Halbwachs Massena
Freda Pastor
ORGAN
Alexander McCurdy
HARP
Carlos Salzedo
Harp Ensemble
Carlos Salzedo
• 7 •
FACULTY— Continued
Ivan Galamian
VIOLA
William Primrose
Chamber Music
William Primrose
VIOLIN
Efrem Zimbalist
Veda Reynolds
VIOLONCELLO
Gregor Piatigorsky
String Ensemble
Marcel Tabuteau
Woodwind Ensemble
Marcel Tabuteau
Brass Ensemble
Charles GusikoflF
FLUTE
William Kincaid
ORCHESTRA
Alexander Hilsberg, Conductor
OBOE
Marcel Tabuteau
CLARINET
Ralph McLane
BASSOON
Sol Schoenbach
HORN
Mason Jones
DOUBLE BASS
Anton Torello
TRUMPET
Samuel Krauss
TROMBONE, TUBA
Charles Gusikoflf
PERCUSSION
Leonard Schulman
Vladimir SokolofF
ACCOMPANISTS
Martha Halbwachs Massena
. 8 •
FACULTY — Continued
Orchestration
Gian-Carlo Menotti
Solfege
Anne-Marie Soffray
COMPOSITION
Gian-Carlo Menotti
Counterpoint, Harmony
Constant Vauclain
Elements of Music
Edith Evans Braun
Dramatic Forms
Gian-Carlo Menotti
Eurhythmies
Nadia Chilkovsky
Languages and Diction
Jock Rantz: English Diction
Mary Q. Shumway, A. B., A. M., Ph. D.: German
Louis Andre Tabuteau, B. es L., L. es L.: French
Domenico Vittorini, A. M., D. in L.: Italian
Eufemia Giannini Gregory: Italian Diction
ACADEMIC TUTOR
Mary Boyde Wesner, A. B.
MINIMUM COURSE REQUIREMENTS
(Entrance Requirements, pages 15-19)
All students are on probation during their entire period of enrolment,
and may be dropped at any time for failure to progress according
to the standards of the Faculty.
For the Diploma
The Diploma is given at the completion of three or more years
of study in any major course. The candidate must have main-
tained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
For the Degree Bachelor of Music
Prerequisite: Completion of 16 units of the required high school
subjects as outlined by the Department of Public Instruction,
Harrisburg, Pennsylvania.
The degree is given at the completion of not less than four years
of study in any major course, with a total of 120 Semester Hours,
of which 60 are to be in Applied Music including the major,
30 in Theory, and 30 in academic work. The candidate must have
maintained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
Credit will be given for academic subjects of college grade taken,
before acceptance or during the period of enrolment, at an
accredited college or university.
For the Degree Master of Music
(Given only in Composition)
Prerequisite: Completion of 120 Semester Hours in the required
courses admitting to the Bachelor of Music degree in Composi-
tion, according to the standards of The Curtis Institute of Music.
The degree is given at the completion of not less than two years
of graduate study in Composition, and such additional work as
may be prescribed, with a total of 30 Semester Hours.
10
MINIMUM COURSE REQUIREMENTS, Continued
The Thesis may consist of an extended original composition for
full orchestra or for chorus and orchestra.
Supplementary Theoretical Courses
(Major courses in Capitals)
All courses in Theory may be anticipated by examination.
For the Diploma
{
Solfege: 1 year
Voice \ Harmony: 1 year
Elements of Music: 1 year
Piano
Organ J ( Solfege: 1 year
Harp \ 3 Harmony and Counterpoint:
Violin l] 2 years
Viola I I Elements of Music: 1 year
Violoncello ^
Double Bass
Flute
Oboe
Clarinet
Bassoon \i Solfege: 1 year
Horn ( \ Harmony: 1 year
Trumpet
Trombone
Tuba
Percussion
Composition See Note 2
For the Degree Bachelor of Music
Voice
Piano
Organ
Harp
Violin
Viola
Violoncello ( ( Solfege: 2 years
Double Bass \) Harmony and Counterpomt:
Flute >) 2 years
Oboe / ( Elements of Music: 2 years
Clarinet
Bassoon
Horn
Trumpet
Trombone
Tuba
Percussion
Composition See Note 2
• 11 •
MINIMUM COURSE REQUIREMENTS, Continued
Supplementary Applied Subjects
(Major courses in Capitals)
The following are required both in courses admitting to the
Diploma and courses admitting to the Bachelor of Music degree,
and are taken, except as indicated, throughout the entire period.
Supplementary Piano may be anticipated by examination.
Piano: 2 years
Diction
Voice ) Vocal Repertoire
Languages
Opera Class
Eurhythmies
Piano Chamber Music
Organ Piano
( Piano: 2 years
Harp < Harp Ensemble
( Orchestra
Violin W Piarjo: 2 years
Viola M Chamber Music
Violoncello f j String Ensemble
Double Bass ) ' Orchestra
Flute
Oboe I { Piano: 2 years
Clarinet >< Woodwind Ensemble
Bassoon \ [ Orchestra
Horn
|i
Trumpet ) ^ „.
Trombone ( / l'^''^^ ^^^^f.
Tuba M ?>"u ^"^^^''^^
Percussion ) ^ Orchestra
Composition Piano: 2 years
Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the
German Schools.
• 12 •
MINIMUM COURSE REQUIREMENTS, Continued
Note 2. The requirements in Composition are Elements of Music, Orchestration, and
Dramatic Forms, and the courses are not considered supplementary but component
parts of the major course.
Note 3. The course in Dramatic Forms includes a brief history of dramatic music
(opera, oratorio); methods of musical dramatic expression (librettos, staging, reci-
tatives, etc.); the analysis of representative operatic works; experiments in the setting
of dramatic texts.
Note 4. Public performance, and performance in Curtis Hall, are credited toward
graduation. Students majoring in Composition receive credit for public or Curtis Hall
performance, whether by themselves or by others, of their compositions. Students
are permitted to accept professional engagements, with the approval of the Director.
Note 5. Attendance is required at all recitals given in Curtis Hall.
13
GENERAL INFORMATION
Students are accepted on the Scholarship basis exclusively, and
pay no tuition fees.
Living expenses are the responsibility of the student.
The School has no dormitories. Incoming students who request
it are assisted in finding living accommodations.
The auditorium, Curtis Hall, where Faculty, student, and guest
recitals. School gatherings, and Commencement are held, is
used also for rehearsals and organ practice. In general, lessons,
classes, and rehearsals are scheduled for afternoons; mornings
are devoted to practice. Designated practice studios are provided
at the Institute.
The library of 30,000 volumes includes among its more impor-
tant sets the Bach Gesellschaft publications, the collected works
of Beethoven, Schubert, and Schumann as pubHshed by Breit-
kopf, and the complete works of Brahms, Chopin, Handel,
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many
volumes of the Denkmaler deutscher Tonkunst, including the
Tonkunst in Bayern, a number of volumes of the Denkmaler
der Tonkunst in Oesterreich, and the works of Monteverdi.
There are a number of rare manuscripts, first editions, and the
famous Burrell collection of Wagneriana. The privilege of bor-
rowing music and books is granted to all registered students.
Students have the use of textbooks without charge.
Instruments include string instruments of the Italian, French and
English Schools, Steinway pianos, Lyon and Healy harps, orches-
tral instruments. The organ in Curtis Hall is a five-manual
with 98 ranks of pipes, built by Aeolian-Skinner.
. 14 .
ENTRANCE REQUIREMENTS
Application for Audition or Examination
Students are accepted only after an audition or the examination
of original compositions submitted. The qualifications for audi-
tion or examination are given on the following pages.
The applicant is required to fill out an application form and to
give in detail all requested information. The application form
must be accompanied by an official birth certificate (photostat
is acceptable), physician's certificate of health, and a recent
small photograph of the applicant. An applicant enrolled as a
student at another school of music or studying with a private
teacher will be considered for an audition or examination only
if the application form is accompanied by written permission
from the school or teacher.
Requests for the return by mail of personal property that has
been submitted with the application form should be accompanied
by the necessary postage.
Auditions are scheduled at the convenience of the Faculty and
requests for changes in appointments cannot be considered.
School Year 1949-1950
Persons wishing consideration for auditions and examinations
to be held in April-May 1949 should request application forms
(stating major subject), and complete and return them with
supporting documents not later than February 1, 1949-
All communications should be addressed to
The Secretary of Admissions
The Curtis Institute of Music
Rittenhouse Square
Philadelphia (3), Pennsylvania
• 15
ENTRANCE REQUIREMENTS
Qualifications for Audition or Examination
The qualifications for receiving an audition or examination are
presented here in a general form, allowing the applicant latitude
in the selection of works to be presented. While the choice of
composition is important, the manner of performance carries far
greater weight.
The final decision as to the suitability of an applicant for ac-
ceptance rests upon the evidence of talent shown rather than
upon the degree of advancement already attained. Admission is
limited to those whose inherent musical gift shows promise
of development to a point of professional quality.
Applicants in any subject may be asked to show the degree of
their attainments in sight-reading. A supplementary knowledge
of the piano, or other medium, and of the theory of music,
is desirable.
The auditors are not obliged to hear all that an applicant may
have in readiness nor to comply with requests for criticism of
applicants not accepted.
Accompanists are provided.
VOICE
Applicants shall submit from memory four selections showing
the character, quality, and personality of voice and singer, of
which one at least should be in English. They should be chosen
from the standard operatic and oratorio recitatives and arias;
German Lieder; Italian songs of the Seventeenth and Eighteenth
Centuries; French songs (either of the 'Bergerette' type or of
the Nineteenth and Twentieth Centuries) ; English songs of any
period which have artistic merit.
16
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
Clear diction and accurate pronunciation in one foreign language
will be considered of higher value than a casual and inaccurate
use of several.
Age of applicants: girl applicants should be between seventeen
and twenty-two, men between nineteen and twenty-five.
PIANO
Applicants shall play from memory: l) a prelude and fugue from
The Well-Tempered Clavichord or a three-part invention of
Bach; 2) a Beethoven sonata, complete; 3) two selections — one
slow and one brilliant — from the works of Chopin.
Age of applicants: applicants should be under twenty-one.
ORGAN
Applicants shall play from memory: l) a fugue or prelude and
fugue or a principal movement from a sonata or symphony;
2) a trio; 3) a scherzo; 4) a slow movement.
Applicants shall also play the following at the piano: l) a study;
2) a nocturne or other slow movement.
Age of applicants: applicants should be under twenty-one.
HARP
Applicants should possess a thorough knowledge of the funda-
mental principles of contemporary harp playing. A knowledge
of piano playing is desirable. Applicants shall submit from
memory two transcriptions from the classics and two works from
contemporary literature.
Age of applicants: applicants should be under twenty-one.
• 17 •
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
VIOLIN
Applicants under fourteen years of age shall play: l) scales in
three octaves and double stops; 2) Kreutzer or Rode etudes;
3) a concerto of Mozart, Spohr, or Mendelssohn.
Applicants over fourteen years of age shall play: l) all scales in
fluent tempo and double stops; 2) a Bach sonata for violin alone;
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr,
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps,
Wieniawski, or Goldmark.
Age of applicants: applicants should be under twenty-one.
VIOLA
Applicants shall play: l) all major and minor scales and arpeggios;
2) the Kreutzer violin etudes; 3) the forty-one caprices of
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz,
or Mozart.
Age of applicants: applicants should be under twenty-one.
VIOLONCELLO
Apphcants shall play: l) all major and minor scales and arpeggios;
2) an etude or a caprice by Franchomme or Piatti or Duport;
3) a fast and a slow movement from a Bach suite; 4) a concerto
from the standard repertoire or a sonata by Beethoven or Brahms
or a modern composer.
Age of applicants: applicants should be under twenty-three.
• 18 •
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
DOUBLE BASS
Applicants shall possess a good ear, sense of rhythm, and the
ability to read at sight. They shall play: l) all the scales, intervals,
and arpeggios; 2) one movement of a concerto or a sonata.
Age of applicants: applicants should be under twenty-one.
FLUTE, OBOE, CLARINET, BASSOON, HORN
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read
at sight.
Age of applicants: applicants should be under twenty-one.
TRUMPET, TROMBONE, TUBA
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read
at sight.
Age of applicants: applicants should be under twenty-one.
PERCUSSION, TYMPANI
Applicants shall possess a good ear, sense of rhythm, the ability
to read at sight, and show aptitude for the instruments.
Age of applicants: applicants should be under twenty-one.
COMPOSITION
Applicants shall submit several original compositions. Orchestral
compositions may be submitted, but are not required.
Applicants should send their manuscripts by registered mail,
presenting themselves in person only when so requested. The
Institute cannot accept responsibility for the return of manu-
scripts unless the necessary postage is enclosed.
19
CALENDAR
1948-1949
September 20 (Monday) ) -n ■ r j
■' \ Registration or new students
September 21 (Tuesday) j
September 22 (Wednesday) ) t. • • r i j j
^ \ Registration of old students
September 23 (Thursday) j
September 27 (Monday): First Term opens
November 25 (Thursday): Thanksgiving Holiday
December 25 (Saturday): Christmas Holiday
January 1 (Saturday): New Year's Holiday
In 1949 The Curtis Institute of Music will be twenty-five years
of age. An appropriate celebration of this event will take place
January 5th and 6th in the Academy of Music, Philadelphia.
The entire School will participate. The usual "Christmas Vaca-
tion" will be postponed to
January 10 (Monday) through ) ,,.,
•^ ^ > Mid-term Vacation
January 30 (Sunday) j
January 31 (Monday): School re-opens
April: Auditions and examinations begin for enrolment of new students
for the School Year 1949-1950
April 15 (Friday) through ) ^ „ .
■' ° ' . Easter Vacation
}■
April 20 (Wednesday)
May 6 (Friday) : Last day of instruction
May 7 (Saturday) : Commencement
Recitals as scheduled
20
THE
CURTIS
INSTITUTE
OF
MUSIC
PHILADELPHIA
194.9 . 1950
THE
CURTIS INSTITUTE OF MUSIC
CATALOGUE
1949-1950
RITTENHOUSE SQUARE
PHILADELPHIA 3 • PENNSYLVANIA
COPYRIGHT 1949, BY
THE CURTIS INSTITUTE OF MUSIC
MARY CURTIS ZIMBALIST
Founder and President
THE CURTIS INSTITUTE OF MUSIC
Efrem Zimbalist, Director
THE CURTIS INSTITUTE OF MUSIC was founded in 1924
by Mary Louise Curtis Bok
To hand down through contemporary masters
the great traditions of the past
To teach students to build on this heritage
for the future
The School is operated under a Charter granted by the Common-
wealth of Pennsylvania and is included in the list of "Colleges and
Universities in Pennsylvania approved by the State Council of
Education for the Granting of Degrees".
The United States Government has duly approved The Curtis
Institute of Music as an institution of learning for immigrant
students, in accordance with the Immigration Act of 1924.
Students are accepted under the conditions herein set forth, on the
scholarship basis exclusively, and pay no tuition fees.
THE CURTIS INSTITUTE OF MUSIC
OFFICERS
President
Mary Curtis Zimbalist
Vice-President
Curtis Bok
Secretary
Cary W. Bok
Treasurer and Assistant Secretary
Jay H. Mattis
BOARD OF DIRECTORS
Mary Curtis Zimbalist
Curtis Bok
Cary W. Bok
Efrem Zimbalist
Helene Boericke Bok
Edith Evans Braun
George P. Orr
Jay H, Mattis
EXECUTIVE AND ADMINISTRATIVE STAFF
Efrem Zimbalist Director
Jay H. Mattis Business Manager
Jane Fairfax Hill Registrar
Helen Hoopes Secretary of Admissions
Elizabeth R. Hartman Librarian
Ethel Kingsley Nice Secretary to the Director
Maud Louise Lytle Secretary to the Business Manager
FACULTY
Headings in CAPITALS designate major courses ; headings in /V<»//c;, supplementary courses.
Marion Szekely Freschl
VOICE
Eufemia Giannini Gregory
Vocal Repertoire
Leo Rosenek
Martin Rich
Opera Department
John Wolmut, Director
Elizabeth Westmoreland, Music Director
Rudolf Serkin
PIANO
Mieczyslaw Horszowski
Isabelle Vengerova
Vladimir Sokoloff
Eleanor Sokoloff
Piano
Martha Halbwachs Massena
Freda Pastor
ORGAN
Alexander McCurdy
HARP
Carlos Salzedo
Harp Ensemble
Carlos Salzedo
• 7 •
FACULTY— Continued
Ivan Galamian
William Primrose
FLUTE
William Kincaid
CLARINET
Ralph McLane
HORN
Mason Jones
TRUMPET
Samuel Krauss
VIOLIN
Efrem Zimbalist
VIOLA and Chamber Music
VIOLONCELLO
Gregor Piatigorsky
Woodwind and String Ensembles
Marcel Tabuteau
Brass Ensemble
Charles Gusikoflf
ORCHESTRA
Alexander Hilsberg, Conductor
Veda Reynolds
Karen Turtle
OBOE
Marcel Tabuteau
BASSOON
Sol Schoenbach
DOUBLE BASS
Roger Scott
TROMBONE, TUBA
Charles Gusikoff
PERCUSSION
Leonard Schulman
Vladimir Sokoloff
ACCOMPANISTS
Martha Halbwachs Massena
• 8 •
FACULTY— Continued
Orchestration
Gian-Carlo Menotti
COMPOSITION
Gian-Carlo Menotti
Elements of Music
Edith Evans Braun
Constant Vauclain
Soipge
Anne-Marie Soffray
Counterpoint, Harmony
Form and Analysis
George Rochberg
Dramatic Forms
Gian-Carlo Menotti
Eurhythmies
Nadia Chilkovsky
Languages and Diction
Jock Rantz: English Diction
Mary Q. Shumway, A. B., A. M., Ph. D.: German
Louis Andre Tabuteau, B. es L., L. es L.: French
Domenico Vittorini, A. M., D. in L.: Italian
Eufemia Giannini Gregory: Italian Diction
ACADEMIC TUTOR
Mary Boyde Wesner, A. B.
MINIMUM COURSE REQUIREMENTS
(Entrance Requirements, pages 15-19)
AH students are on probation during their entire period of enrolment,
and may be dropped at any time for failure to progress according
to the standards of the Faculty.
For the Diploma
The Diploma is given at the completion of three or more years
of study in any major course. The candidate must have main-
tained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the follov^ing pages.
For the Degree Bachelor of Music
Prerequisite: Completion of 16 units of the required high school
subjects as outlined by the Department of Public Instruction,
Harrisburg, Pennsylvania.
The degree is given at the completion of not less than four years
of study in any major course, with a total of 120 Semester Hours,
of which 60 are to be in Applied Music including the major,
30 in Theory, and 30 in academic work. The candidate must have
maintained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
Credit will be given for academic subjects of college grade taken,
before acceptance or during the period of enrolment, at an
accredited college or university.
For the Degree Master of Music
(Given only in Composition)
Prerequisite: Completion of 120 Semester Hours in the required
courses admitting to the Bachelor of Music degree in Composi-
tion, according to the standards of The Curtis Institute of Music.
The degree is given at the completion of not less than two years
of graduate study in Composition, and such additional work as
may be prescribed, with a total of 30 Semester Hours.
10 •
MI^fIMUM COURSE REQUIREMENTS, Continued
The Thesis may consist of an extended original composition for
full orchestra or for chorus and orchestra.
Supplementary Theoretical Courses
(Major courses in Capitals)
All courses in Theory may be anticipated by examination.
For the Diploma
i . .
Elements of Music: 1 year
I Solfege*
Voice < Harmony: 1 year
Piano
Organ j r Solfege*
Harp M Harmony and Counterpoint:
Violin /j 2 years
Viola 1 ( Elements of Music: 1 year
Violoncello /
Double Bass
Flute
Oboe
Clarinet
Bassoon I r Solfege*
Horn ( \ Harmony: 1 year
Trumpet
Trombone
Tuba
Percussion
Composition See Note 2
For the Degree Bachelor of Music
Voice
Piano
Organ
Harp
Violin
Viola
Violoncello [ / Solfege*
Double Bass \ \ Harmony and Counterpoint:
Flute V 2 years
Oboe / | Form and Analysis: 1 year
Clarinet ( '. Elements of Music: 2 years
Bassoon
Horn
Trumpet
Trombone
Tuba
Percussion
Composition See Note 2
*The number of years varies according to requirements.
• 11 •
MINIMUM COURSE REQUIREMENTS, Continued
Supplementary Applied Subjects
(Major courses in Capitals)
The following are required both in courses admitting to the
Diploma and courses admitting to the Bachelor of Music degree,
and are taken, except as indicated, throughout the entire period.
Supplementary Piano may be anticipated by examination.
Piano: 2 years
Diction
Voice ) Vocal Repertoire
Languages
Opera Class
Eurhythmies
Piano Chamber Music
Organ Piano
Piano: 2 years
Harp -^ Harp Ensemble
Orchestra
{
ViOUN W Piano: 2 years
Viola M Chamber Music
Violoncello M String Ensemble
Double Bass ) ' Orchestra
Flute
Oboe \ i Piano: 2 years
Clarinet >< Woodwind Ensemble
Bassoon \ \ Orchestra
Horn
Trumpet j / d- o
T-70™ l^'rE^Se
Jbrcussion:.:::;;::::;:;::;::::::' ■>*0"='--"«
Composition Piano: 2 years
Note 1. The Elements of Music course includes Acoustics, Theory of Harmony, Theory
of Rhythm, Form, the Greek System, the Modal System, the Constitution of Polyphonic
Forms, the Rise of Opera and Oratorio, the Flemish Schools, the Italian Schools, the
German Schools.
12
MINIMUM COURSE REQUIREMENTS, Continued
Note 2. The requirements in Composition are Elements of Music, Orchestration, and
Dramatic Forms, and the courses are not considered supplementary but component
parts of the major course.
Note 3. The course in Dramatic Forms includes a brief history of dramatic music
(opera, oratorio); methods of musical dramatic expression (librettos, staging, reci-
tatives, etc.); the analysis of representative operatic works; experiments in the setting
of dramatic texts.
Note 4. Public performance, and performance in Curtis Hail, are credited toward
graduation. Students majoring in Composition receive credit for public or Curtis Hall
performance, whether by themselves or by others, of their compositions. Students
are permitted to accept professional engagements, with the approval of the Director.
Note 3. Attendance is required at all recitals given in Curtis Hall.
13
GENERAL INFORMATION
Students are accepted on the Scholarship basis exclusively, and
pay no tuition fees.
Living expenses are the responsibility of the student.
The School has no dormitories. Incoming students who request
it are assisted in finding living accommodations.
The auditorium, Curtis Hall, where Faculty, student, and guest
recitals. School gatherings, and Commencement are held, is
used also for rehearsals and organ practice. In general, lessons,
classes, and rehearsals are scheduled for afternoons; mornings
are devoted to practice. Designated practice studios are provided
at the Institute.
The library of 30,000 volumes includes among its more impor-
tant sets the Bach Gesellschaft publications, the collected works
of Beethoven, Schubert, and Schumann as published by Breit-
kopf, and the complete works of Brahms, Chopin, Handel,
Lassus, Mozart, Palestrina, Purcell, Schiitz, and Vittoria; many
volumes of the Denkmaler deutscher Tonkunst, including the
Tonkunst in Bayern, a number of volumes of the Denkmaler
der Tonkunst in Oesterreich, and the works of Monteverdi.
There are a number of rare manuscripts, first editions, and the
famous Burrell collection of Wagneriana. The privilege of bor-
rowing music and books is granted to all registered students.
Students have the use of textbooks without charge.
Instruments include string instruments of the Italian, French and
English Schools, Steinway pianos, Lyon and Healy harps, orches-
tral instruments. The organ in Curtis Hall is a five-manual
with 98 ranks of pipes, built by Aeolian-Skinner.
. 14 •
ENTRANCE REQUIREMENTS
Application for Audition or Examination
Students are accepted only after an audition or the examination
of original compositions submitted. The qualifications for audi-
tion or examination are given on the following pages.
The applicant is required to fill out an application form and to
gi\Q in detail all requested information. The application form
must be accompanied by an official birth certificate (photostat
is acceptable), physician's certificate of health, and a recent
small photograph of the applicant. An applicant enrolled as a
student at another school of music or studying with a private
teacher will be considered for an audition or examination only
if the application form is accompanied by written permission
from the school or teacher.
Requests for the return by mail of personal property that has
been submitted with the application form should be accompanied
by the necessary postage.
Auditions are scheduled at the convenience of the Faculty and
requests for changes in appointments cannot be considered.
School Year 1950-1951
Persons wishing consideration for auditions and examinations
to be held in April-May 1950 should request application forms
(stating major subject), and complete and return them with
supporting documents not later than February 1, 1930.
All communications should be addressed to
The Secretary of Admissions
The Curtis Institute of Music
Rittenhouse Square
Philadelphia (3), Pennsylvania
15
ENTRANCE REQUIREMENTS
Qualifications for Audition or Examination
The qualifications for receiving an audition or examination are
presented here in a general form, allowing the applicant latitude
in the selection of works to be presented. While the choice of
composition is important, the manner of performance carries far
greater weight.
The final decision as to the suitability of an applicant for ac-
ceptance rests upon the evidence of talent shown rather than
upon the degree of advancement already attdned. Admission is
limited to those whose inherent musical gift shows promise
of development to a point of professional quality.
Applicants in any subject may be asked to show the degree of
their attainments in sight-reading. A supplementary knowledge
of the piano, or other medium, and of the theory of music,
is desirable.
The auditors are not obliged to hear all that an applicant may
have in readiness nor to comply with requests for criticism of
applicants not accepted.
Accompanists are provided.
VOICE
Applicants shall submit from memory four selections showing
the character, quality, and personality of voice and singer, of
which one at least should be in English. They should be chosen
from the standard operatic and oratorio recitatives and arias;
German Lieder; Italian songs of the Seventeenth and Eighteenth
Centuries; French songs (either of the 'Bergerette' type or of
the Nineteenth and Twentieth Centuries) ; English songs of any
period which have artistic merit.
16
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
Clear diction and accurate pronunciation in one foreign language
will be considered of higher value than a casual and inaccurate
use of several.
Age of applicants: girl applicants should be between seventeen
and twenty-two, men between nineteen and twenty-five.
PIANO
Applicants shall play from memory: l) a prelude and fugue from
The Well-Tempered Clavichord or a three-part invention of
Bach; 2) a Beethoven sonata, complete; 3) two selections — one
slow and one brilliant — from the works of Chopin.
Age of applicants: applicants should be under twenty-one.
ORGAN
Applicants shall play from memory: l) a fugue or prelude and
fugue or a principal movement from a sonata or symphony;
2) a trio; 3) a scherzo; 4) a slow movement.
Applicants shall also play the following at the piano: l) a study;
2) a nocturne or other slow movement.
Age of applicants: applicants should be under twenty-one.
HARP
Applicants should possess a thorough knowledge of the funda-
mental principles of contemporary harp playing. A knowledge
of piano playing is desirable. Applicants shall submit from
memory two transcriptions from the classics and two works from
contemporary literature.
Age of applicants: applicants should be under twenty-one.
• 17 •
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
VIOLIN
Applicants under fourteen years of age shall play: l) scales in
three octaves and double stops; 2) Kreutzer or Rode etudes;
3) a concerto of Mozart, Spohr, or Mendelssohn.
Applicants over fourteen years of age shall play: l) all scales in
fluent tempo and double stops; 2) a Bach sonata for violin alone;
3) etudes by Dont or Paganini; 4) a concerto of Mozart, Spohr,
Beethoven, Brahms, Paganini, Mendelssohn, Vieuxtemps,
Wieniawski, or Goldmark.
Age of applicants: applicants should be under twenty-one.
VIOLA
Applicants shall play: l) all major and minor scales and arpeggios;
2) the Kreutzer violin etudes; 3) the forty-one caprices of
Campagnoli, Op. 22; 4) a concerto of Handel-Casadesus, Stamitz,
or Mozart.
Age of applicants: applicants should be under twenty-one.
VIOLONCELLO
Applicants shall play: l) all major and minor scales and arpeggios;
2) an etude or a caprice by Franchomme or Piatti or Duport;
3) a fast and a slow movement from a Bach suite; 4) a concerto
from the standard repertoire or a sonata by Beethoven or Brahms
or a modern composer.
Age of applicants: applicants should be under twenty-three.
18
ENTRANCE REQUIREMENTS:
Qualifications for Audition or Examination, Continued
DOUBLE BASS
Applicants shall possess a good ear, sense of rhythm, and the
ability to read at sight. They shall play: l) all the scales, intervals,
and arpeggios; 2) one movement of a concerto or a sonata.
Age of applicants: applicants should be under twenty-one.
FLUTE, OBOE, CLARINET, BASSOON, HORN
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read
at sight.
Age of applicants: applicants should be under twenty-one.
TRUMPET, TROMBONE, TUBA
Applicants shall possess physical aptitude for the chosen instru-
ment, a good ear, sense of rhythm, and the ability to read
at sight.
Age of applicants: applicants should be under twenty-one.
PERCUSSION, TYMPANI
Applicants shall possess a good ear, sense of rhythm, the ability
to read at sight, and show aptitude for the instruments.
Age of applicants: applicants should be under twenty-one.
COMPOSITION
Applicants shall submit several original compositions. Orchestral
compositions may be submitted, but are not required.
Applicants should send their manuscripts by registered mail,
presenting themselves in person only when so requested. The
Institute cannot accept responsibility for the return of manu-
scripts unless the necessary postage is enclosed.
19
CALENDAR
1949-1950
September 19 (Monday) ) t, ■ ■ e ,
V Registration or new students
September 20 (Tuesday)
September 21 (Wednesday) ) r, • • r . . ,
V Registration or old students
September 22 (Thursday) j
September 26 (Monday) : First Term opens
November 24 (Thursday): Thanksgiving Holiday
December 17 (Saturday) through , ^, . „ .
^ ' * I Christmas Vacation
}
January 8 (Sunday)
January 9 (Monday): School re-opens
April: Auditions and examinations begin for enrolment of new students
for the School Year 1950-1951
April 7 (Friday) through ,
' .Easter Vacation
\
April 12 (Wednesday)
May 5 (Friday): Last day of instruction
May 6 (Saturday): Commencement
Recitals as scheduled
• 20 •
THE
CURTIS
INSTITUTE
OF
MUSIC
PHILADELPHIA
1950 • 1951
THE
CURTIS INSTITUTE OF MUSIC
CATALOGUE
1950-1951
RITTENHOUSE SQUARE
PHILADELPHIA 3 * PENNSYLVANIA
COPYRIGHT 1950, BY
THE CURTIS INSTITUTE OF MUSIC
EFREM ZIMBALIST, Director
THE CURTIS INSTITUTE OF MUSIC
Efrem Zimbalist, Director
THE CURTIS INSTITUTE OF MUSIC was founded in 1924
by Mary Louise Curtis Bok
To hand down through contemporary masters
the great traditions of the past
To teach students to build on this heritage
for the future
The School is operated under a Charter granted by the Common-
wealth of Pennsylvania and is included in the list of "Colleges and
Universities in Pennsylvania approved by the State Council of
Education for the Granting of Degrees".
The United States Government has duly approved The Curtis
Institute of Music as an institution of learning for immigrant
students, in accordance with the Immigration Act of 1924.
Students are accepted under the conditions herein set forth, on the
scholarship basis exclusively, and pay no tuition fees.
5 •
THE CURTIS INSTITUTE OF MUSIC
OFHCERS
President
Mary Curtis Zimbalist
Vice-President
Curtis Bok
Secretary
Cary W. Bok
Treasurer and Assistant Secretary
Jay H. Mattis
BOARD OF DIRECTORS
Mary Curtis Zimbalist
Curtis Bok
Cary W. Bok
Efrem Zimbalist
Helene Boericke Bok
Edith Evans Braun
George P. Orr
Jay H. Mattis
EXECUTIVE AND ADMINISTRATIVE STAFF
Efrem Zimbalist Director
Jay H. Mattis Business Manager
Jane Fairfax Hill Registrar
Helen Hoopes Secretary of Admissions
Elizabeth R. Hartman Librarian
Ethel Kingsley Nice Secretary to the Director
Maud Louise Lytle Secretary to the Business Manager
6 •
FACULTY
Headings in CAPITALS designate major courses; headings in italia, supplementary courses.
Giuseppe De Luca
VOICE
Eufemia Giannini Gregory
Rudolf Serkin
Vocal Repertoire
Leo Rosenek
Vladimir SokolofF
Opera Department
Herbert Graf, Director
Elizabeth Westmoreland, Music Director
PIANO
Mieczyslaw Horszowski
Isabelle Vengerova
Vladimir Sokoloff
Eleanor Sokoloflf
Piano
Martha Halbwachs Massena
Freda Pastor
ORGAN
Alexander McCurdy
HARP
Carlos Salzedo
Harp Ensemble
Carlos Salzedo
• 7
FACULTY — Continued
Ivan Galamian
William Primrose
FLUTE
William Kincaid
CLARINET
Ralph McLane
HORN
Mason Jones
TRUMPET
Samuel Krauss
VIOLIN
Efrem Zimbalist
VIOLA and Chamber Music
VIOLONCELLO
Gregor Piatigorsky
Woodwind and String Ensembles
Marcel Tabuteau
Brass Ensemble
Charles Gusikoff
ORCHESTRA
Alexander Hilsberg, Conductor
Veda Reynolds
Karen Turtle
OBOE
Marcel Tabuteau
BASSOON
Sol Schoenbach
DOUBLE BASS
Roger Scott
TROMBONE, TUBA
Charles Gusikoff
PERCUSSION
David Grupp
Vladimir Sokoloflf
ACCOMPANISTS
Martha Halbwachs Massena
• 8 •
T ACVLTY— Continued
Orchestration
Gian-Carlo Menotti
COMPOSITION
Gian-Carlo Menotti
Elements of Music
Edith Evans Braun
Constant Vauclain
Solfege
Anne-Marie SofFray
Counterpoint, Harmony
Form and Analysis
George Rochberg
Dramatic Forms
Gian-Carlo Menotti
Eurhythmies
Nadia Chilkovsky
Languages and Diction
English Diction: to be announced
Mary Q. Shumway, A. B., A. M., Ph. D.: Gerjnan
Louise Andre Tabuteau, B. es L., L. es L.: French
Domenico Vittorini, A. M., D. in L.: Italian
Eufemia Giannini Gregory: Italian Diction
MINIMUM COURSE REQUIREMENTS
(Entrance Requirements, pages 15-19)
All students are on probation during their entire period of enrolment,
and may be dropped at any time for failure to progress according
to the standards of the Faculty.
For the Diploma
The Diploma is given at the completion of three or more years
of study in any major course. The candidate must have main-
tained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
For the Degree Bachelor of Music
Prerequisite: Completion of 16 units of the required high school
subjects as outlined by the Department of Public Instruction,
Harrisburg, Pennsylvania.
The degree is given at the completion of not less than four years
of study in any major course, with a total of 120 Semester Hours,
of which 60 are to be in Applied Music including the major,
30 in Theory, and 30 in academic work. The candidate must have
maintained a high standard of excellence during the entire period
both in his major and in his supplementary courses.
The prescribed minimum work to be covered in Theory and sup-
plementary applied subjects is outlined on the following pages.
Credit will be given for academic subjects of college grade taken,
before acceptance or during the period of enrolment, at an
accredited college or university.
For the Degree Master of Music
(Given only in Composition)
Prerequisite: Completion of 120 Semester Hours in the required
courses admitting to the Bachelor of Music degree in Composi-
tion, according to the standards of The Curtis Institute of Music.
The degree is given at the completion of not less than two years
of graduate study in Composition, and such additional work as
may be prescribed, with a total of 30 Semester Hours.
10
MINIMUM COURSE REQUIREMENTS, Continued
The Thesis may consist of an extended original composition for
full orchestra or for chorus and orchestra.
Supplementary Theoretical Courses
(Major courses in Capitals)
All courses in Theory may be anticipated by examination.
For the Diploma
i . .
Elements of Music: 1 year
( Solfege*
Voice < Harmony: 1 year
Piano
Organ if Solfege*
Harp M Harmony and Counterpoint:
Violin M 2 years
Viola I ( Elements of Music: 1 year
Violoncello /
Double Bass
Flute
Oboe
Clarinet
Bassoon \ ( Solfege*
Horn ^ I Harmony: 1 year
Trumpet
Trombone
Tuba
Percussion
Composition See Note 2
For the Degree Bachelor of Music
Voice
Piano
Organ
Harp
Violin
Viola
Violoncello f ( Solfege
Double Bass V \ Harmony and Counterpomt:
Flute ){ ^^ ^^^^^ . , .
Oboe ... . . . . ( \ I^o^m and Analysis: 1 year
Clarinet !'!'!'.'!!!!!!'.!!!!!
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